MR. BLIGH'S BAD LANGUAGE

PASSION, POWER AND THEATRE ON THE BOUNTY

A learned, humane, provocative ``creative reading'' of the mutiny on the Bounty—the events; their meaning and representation in native lore, British life, the theater, and cinema; and their historical value. An engaging style and familiarity with political, naval, theater and film history, with anthropology, and with thinkers such as Foucault, Barthes, and LÇvi-Strauss enrich this ``celebratory narrative,'' as Dening (History/Univ. of Melbourne) calls it. The story is familiar but, Dening says, the emphasis, meaning, explanation, and value change depending on the point of view, the period, culture, and medium in which one represents the character of Bligh (a perfectionist who preferred to avoid physical punishment) and the sailors; the idea of discipline in the navy; the participants' various expectations; the natives they encountered; the brutality and brutalization, abandonment and retribution; and the survivors' colony on Pitcairn Island. In the theatrical terms Dening employs, the mutiny becomes an enactment of roles, a ritual representing universal experiences of sacrifice, deification, resurrection, possession, encounters between natives and strangers, and the ranging iconography of power as it appears among natives and seamen. Dening's ``cliometrics'' (the statistics on corporeal punishment in the navy); his discussions of Jonas Hanway, of Captain Cook's adventures among the Polynesians, of the British popular theater, of the five films based on the Bounty (including the moral one in the 30's, the political one in the 60's, and the psychological one in the 80's); the encyclopedic knowledge he brings—all add conviction to his imaginative interpretations and demonstrate his proposition that ``history is something we make rather than something we learn.'' A fascinating, essential chapter in the history of the Bounty. (Fifty halftones, three maps—not seen.)

Pub Date: Sept. 18, 1992

ISBN: 0-521-38370-6

Page Count: 464

Publisher: Cambridge Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1992

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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Bibliophiles will love this fact-filled, bookish journey.

THE LIBRARY BOOK

An engaging, casual history of librarians and libraries and a famous one that burned down.

In her latest, New Yorker staff writer Orlean (Rin Tin Tin: The Life and the Legend, 2011, etc.) seeks to “tell about a place I love that doesn’t belong to me but feels like it is mine.” It’s the story of the Los Angeles Public Library, poet Charles Bukowski’s “wondrous place,” and what happened to it on April 29, 1986: It burned down. The fire raged “for more than seven hours and reached temperatures of 2000 degrees…more than one million books were burned or damaged.” Though nobody was killed, 22 people were injured, and it took more than 3 million gallons of water to put it out. One of the firefighters on the scene said, “We thought we were looking at the bowels of hell….It was surreal.” Besides telling the story of the historic library and its destruction, the author recounts the intense arson investigation and provides an in-depth biography of the troubled young man who was arrested for starting it, actor Harry Peak. Orlean reminds us that library fires have been around since the Library of Alexandria; during World War II, “the Nazis alone destroyed an estimated hundred million books.” She continues, “destroying a culture’s books is sentencing it to something worse than death: It is sentencing it to seem as if it never happened.” The author also examines the library’s important role in the city since 1872 and the construction of the historic Goodhue Building in 1926. Orlean visited the current library and talked to many of the librarians, learning about their jobs and responsibilities, how libraries were a “solace in the Depression,” and the ongoing problems librarians face dealing with the homeless. The author speculates about Peak’s guilt but remains “confounded.” Maybe it was just an accident after all.

Bibliophiles will love this fact-filled, bookish journey.

Pub Date: Oct. 16, 2018

ISBN: 978-1-4767-4018-8

Page Count: 336

Publisher: Simon & Schuster

Review Posted Online: July 2, 2018

Kirkus Reviews Issue: July 15, 2018

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